22edo chord names: Difference between revisions
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Various [[22edo]] triads, 6th and 7th chords, named via [[Ups and Downs Notation|ups and downs]]. Not meant to be exhaustive, but this list does demonstrate the basic rules for naming. | Various [[22edo]] triads, 6th and 7th chords, named via [[Ups and Downs Notation|ups and downs]]. Not meant to be exhaustive, but this list does demonstrate the basic rules for naming. | ||
Highly implausible chords are named as a more plausible [[Chord homonym|homonym]], e.g. | Highly implausible chords are named as a more plausible [[Chord homonym|homonym]], e.g. {{nowrap|0–9–14 {{=}} C4(^5)}} becomes {{nowrap|9–14–22 {{=}} Fm}}, where "a" stands for augmented and "d" stands for diminished. | ||
{| class="wikitable" | {| class="wikitable" | ||
|- | |- | ||
! colspan="2" | | ! colspan="2" | Third → | ||
! m3 | ! m3 | ||
! ^m3 | ! ^m3 | ||
| Line 11: | Line 11: | ||
! M3 | ! M3 | ||
! P4 | ! P4 | ||
!^4 | ! ^4 | ||
|- | |- | ||
! colspan="2" |Triads with P5 | ! colspan="2" | Triads with P5 | ||
| Cm | | Cm | ||
| C^m | | C^m | ||
| Line 19: | Line 19: | ||
| C | | C | ||
| C4 | | C4 | ||
|C^4 | | C^4 | ||
|- | |- | ||
! rowspan="5" |Other | ! rowspan="5" | Other<br />triads | ||
triads | ! v5 | ||
!v5 | | Cm(v5) | ||
|Cm(v5) | | C^m(v5) | ||
|C^m(v5) | | Cv(v5) | ||
|Cv(v5) | | C(v5) | ||
|C(v5) | | C4(v5) | ||
|C4(v5) | | C^4(v5) | ||
|C^4(v5) | |||
|- | |- | ||
!^d5 | ! ^d5 | ||
|Cd(^5) | | Cd(^5) | ||
|C^d(^5) | | C^d(^5) | ||
|Cv(^b5) | | Cv(^b5) | ||
|C(^b5) | | C(^b5) | ||
|C4(^b5) | | C4(^b5) | ||
|C^4(^b5) | | C^4(^b5) | ||
|- | |- | ||
!d5 | ! d5 | ||
|Cd | | Cd | ||
|C^d | | C^d | ||
|Cv(b5) | | Cv(b5) | ||
|C(b5) | | C(b5) | ||
|C4(b5) | | C4(b5) | ||
|C^4(b5) | | C^4(b5) | ||
|- | |- | ||
!^5 | ! ^5 | ||
|''(Ab)'' | | ''(Ab)'' | ||
|C^m(^5) | | C^m(^5) | ||
|Cv(^5) | | Cv(^5) | ||
|C(^5) | | C(^5) | ||
|''(Fm)'' | | ''(Fm)'' | ||
|C^4(^5) | | C^4(^5) | ||
|- | |- | ||
!va5 | ! va5 | ||
|Cm(v#5) | | Cm(v#5) | ||
|''(^Abv)'' | | ''(^Abv)'' | ||
|Cv(v#5) | | Cv(v#5) | ||
|C(v#5) | | C(v#5) | ||
|''(F^m)'' | | ''(F^m)'' | ||
|C^4(v#5) | | C^4(v#5) | ||
|- | |- | ||
! rowspan="6" |Tetrads | ! rowspan="6" | Tetrads<br />with a P5 | ||
with a | |||
P5 | |||
! vM6 | ! vM6 | ||
| Cmv6 | | Cmv6 | ||
| Line 73: | Line 69: | ||
| C,v6 | | C,v6 | ||
| C4v6 | | C4v6 | ||
|C^4v6 | | C^4v6 | ||
|- | |- | ||
! M6 | ! M6 | ||
| Line 81: | Line 77: | ||
| C6 | | C6 | ||
| C4,6 | | C4,6 | ||
|C^4,6 | | C^4,6 | ||
|- | |- | ||
! m7 | ! m7 | ||
| Line 89: | Line 85: | ||
| C7 | | C7 | ||
| C4,7 | | C4,7 | ||
|C^4,7 | | C^4,7 | ||
|- | |- | ||
! ^m7 | ! ^m7 | ||
| Line 97: | Line 93: | ||
| C,^7 | | C,^7 | ||
| C4^7 | | C4^7 | ||
|C^4^7 | | C^4^7 | ||
|- | |- | ||
! vM7 | ! vM7 | ||
| Line 105: | Line 101: | ||
| C,vM7 | | C,vM7 | ||
| C4vM7 | | C4vM7 | ||
|C^4vM7 | | C^4vM7 | ||
|- | |- | ||
! M7 | ! M7 | ||
| Line 113: | Line 109: | ||
| CM7 | | CM7 | ||
| C4M7 | | C4M7 | ||
|C^4M7 | | C^4M7 | ||
|} | |} | ||
| Line 134: | Line 130: | ||
| Ch7 | | Ch7 | ||
|- | |- | ||
|4:5:6:7:9 | | 4:5:6:7:9 | ||
|C vE G Bb D | | C vE G Bb D | ||
|C-nine down-3 | | C-nine down-3 | ||
|C9(v3) | | C9(v3) | ||
|C har9 | | C har9 | ||
|Ch9 | | Ch9 | ||
|- | |- | ||
| 7:6:5:4 | | 7:6:5:4 | ||
| Line 155: | Line 151: | ||
| Cs6 | | Cs6 | ||
|- | |- | ||
|9:7:6:5:4 | | 9:7:6:5:4 | ||
|C E G ^Bb D | | C E G ^Bb D | ||
|C-nine up-7 | | C-nine up-7 | ||
|C9(^7) | | C9(^7) | ||
|C sub9 | | C sub9 | ||
|Cs9 | | Cs9 | ||
|} | |} | ||
Revision as of 14:10, 4 February 2025
Various 22edo triads, 6th and 7th chords, named via ups and downs. Not meant to be exhaustive, but this list does demonstrate the basic rules for naming.
Highly implausible chords are named as a more plausible homonym, e.g. 0–9–14 = C4(^5) becomes 9–14–22 = Fm, where "a" stands for augmented and "d" stands for diminished.
| Third → | m3 | ^m3 | vM3 | M3 | P4 | ^4 | |
|---|---|---|---|---|---|---|---|
| Triads with P5 | Cm | C^m | Cv | C | C4 | C^4 | |
| Other triads |
v5 | Cm(v5) | C^m(v5) | Cv(v5) | C(v5) | C4(v5) | C^4(v5) |
| ^d5 | Cd(^5) | C^d(^5) | Cv(^b5) | C(^b5) | C4(^b5) | C^4(^b5) | |
| d5 | Cd | C^d | Cv(b5) | C(b5) | C4(b5) | C^4(b5) | |
| ^5 | (Ab) | C^m(^5) | Cv(^5) | C(^5) | (Fm) | C^4(^5) | |
| va5 | Cm(v#5) | (^Abv) | Cv(v#5) | C(v#5) | (F^m) | C^4(v#5) | |
| Tetrads with a P5 |
vM6 | Cmv6 | C^mv6 | Cv6 | C,v6 | C4v6 | C^4v6 |
| M6 | Cm6 | C^m,6 | Cv,6 | C6 | C4,6 | C^4,6 | |
| m7 | Cm7 | C^m,7 | Cv,7 | C7 | C4,7 | C^4,7 | |
| ^m7 | Cm^7 | C^m7 | Cv^7 | C,^7 | C4^7 | C^4^7 | |
| vM7 | CmvM7 | C^mvM7 | CvM7 | C,vM7 | C4vM7 | C^4vM7 | |
| M7 | CmM7 | C^mM7 | Cv,M7 | CM7 | C4M7 | C^4M7 | |
A punctuation comma (",") is spoken as "add", thus Cv,7 is "C-down add-seven". The only exception is when a comma separates two numbers, as in C4,7 which is "C four-seven". A comma is written, and "add" is spoken, whenever not doing so would cause confusion with another chord.
4:5:6:7 = C vE G Bb is named Cv,7. To get a shorter name for this important chord, one could call it a harmonic7 chord, or one could borrow from color notation to call it a har7 chord, written Ch7. Names for subharmonic chords can be similarly shortened.
| Chord | Notes | Ups and downs name | Color name | ||
|---|---|---|---|---|---|
| 4:5:6:7 | C vE G Bb | C-down add-7 | Cv,7 | C har7 | Ch7 |
| 4:5:6:7:9 | C vE G Bb D | C-nine down-3 | C9(v3) | C har9 | Ch9 |
| 7:6:5:4 | C Eb ^Gb Bb | C minor7 upflat-5 | Cm7(^b5) | C sub7 | Cs7 |
| 12:10:8:7 | C ^Eb G A | C upminor add-6 | C^m,6 | C sub6 | Cs6 |
| 9:7:6:5:4 | C E G ^Bb D | C-nine up-7 | C9(^7) | C sub9 | Cs9 |